Alkan Avcıoğlu

Christie's | Paris Photo | Art Basel Miami | Zona Maco | Photo Vogue |

collab with Edward Burtynsky at Heft Gallery NY

[Alkan Avcıoğlu @EvergreenDazed]

2025 RECAP 🧵

Looking back, this year has felt like a dream. So many things came together, and my work found its way into places I once only imagined.

• My work Liquid Modernity was exhibited and auctioned at Christie’s, as part of their inaugural AI art auction.

• I won Claire Silver’s AI Contest with my work Dromological.

• I collaborated with world-renowned photographer Edward Burtynsky, one of the most influential artists of our time. We presented a solo exhibition of our Hypertopographics series at Heft Gallery, New York, later shown at Contemporary Istanbul and lastly at Paris Photo.

• My work is featured in Dopamine at Le Cube Garges, Paris. A major institutional exhibition running until July 18, 2026, presented as part of Némo Biennale 2025, the International Biennale of Digital Arts.

• Work from my previous collections continued to be exhibited internationally, from Shanghai to New York’s Times Square, my work was featured in many exhibitions across galleries and public spaces.

• A defining chapter of the year was my AI generated feature documentary film Post Truth:

- It became the first AI feature film in cinema history to secure a theatrical release. The theatrical deal was reported by Deadline Hollywood.

- The film had its international premiere at Warsaw Film Festival, one of the only 14 A-list festivals in the world accredited by FIAPF. Variety announced the international debut.

- The film subsequently screened at long-established festivals, including the 66th Festival dei Popoli, the oldest documentary festival in Europe, and the 62nd International Antalya Golden Orange Film Festival, the longest-running festival in Turkey.

- It received overwhelmingly positive reviews from professional critics in Turkey, Poland, and Italy.

- The film lastly won the Audience Award at FrontDoc International Film Festival.

• This year marked key milestones for our AI production company, Spongeworthy Studio: With Post Truth becoming a theatrically released, critically acclaimed film, while @VikkiBardot's short film Dreamt by Another, screened at over 20 festivals before being acquired by MUBI.

• The soundtrack album of Post Truth was released in December via Tamar Records on vinyl, CD, and digital platforms.

• Much of the year was focused on moving conversations around AI and art beyond online spaces, into wider public and cultural contexts.

• From Paris Photo to international film festivals, I spent much of the year on panels and public discussions, contributing to the conversation around AI and art beyond Web3.

• I was featured in major outlets, from The Observer to CNN Türk, and gave over 25 interviews across print, online, and television.

• A curated image gallery of my work circulated widely across mainstream platforms, including Bored Panda, MSN, and AOL.

• The year included several auctions, highlights including:
– Hypertopographics #1 sold for $18,000 via Heft Gallery, New York.
– Earth Misread sold for $8,100 via Asprey Studio Gallery, London.
– Liquid Modernity sold for $5,040 via Christie’s, New York.

I don’t take any of this lightly. This year raised the bar for what the work demands next.

A key part of this year was seeing my AI-generated work move beyond online spaces and enter real-world galleries, institutions, cinemas, and publications.

My interviews followed a wild path: I started the year talking about AI and photography around the Christie’s exhibition, moved into AI and filmmaking with Post Truth, and ended up discussing AI and music through the soundtrack.

I’m genuinely grateful for every step along the way, and for the seriousness with which all my work has been received.

New exhibitions are confirmed for the coming year, with several new projects set to be released. Major announcements are on the way.

2026 is shaping up to be an exciting one.

[24 TV @yirmidorttv]

Sanatçı ve Yönetmen Alkan Avcıoğlu (@EvergreenDazed): Sinemа benim hayatımın büyük bir kısmını kaplıyor. Kendimi bileli sinemayla ilgileniyorum.

#KırmızıHalı

[24 TV @yirmidorttv]

YAPAY ZEKÂ TEKNOLOJİSİ

Sanatçı ve Yönetmen Alkan Avcıoğlu (@EvergreenDazed): Ben yapay zekâ araçlarıyla haşır neşir olmaya başladığımda, yapay zekâ popüler bir konu bile değildi.

#KırmızıHalı

[Alkan Avcıoğlu @EvergreenDazed]

Is reality something we discover, or something we construct?

[8NAP ART @8NAP_ART]

Some ruins are made of stone. Others are made of images.

A preview of Memoria by @VikkiBardot

In Memoria, decay operates across three registers at once: stone erodes, images corrupt, memory fails.

Physical ruin, digital deterioration, and the instability of remembrance converge within the same image.

What emerges is a post-digital ruin where history, memory, and representation become equally fragile.

Nothing remains stable. Everything decays.

Within Digital Encounters, the piece considers myth as an eroded story. One shaped by what disappears, what persists, and what continues to look back at us through absence.

For Vikki Bardot, generative images become unstable ruins where memory, history, and mythology look back at the present through their own erosion.

Decay appears here not as disappearance, but as a mode of persistence. The title Memoria references Apichatpong Weerasethakul’s film of the same name.

Vikki Bardot is an award-winning filmmaker and multidisciplinary artist working with artificial intelligence to explore the evolving nature of the image in the post-medium era.

Part of Digital Encounters, presented by 8NAP ART and SUPERCHIEF.

Phase 2 edition minting begins Tuesday, June 9.

Follow us, @jared_poz, and @SuperchiefNFT for important updates and announcements.

[Evrensel Gazetesi @evrenselgzt]

Alkan Avcıoğlu’nun şehir, karanlık ve sıkışmışlık temalarını merkezine alan 100 eserlik yeni solo serisi “Black Atlas”, Edirne Bienali kapsamında ilk kez sanatseverlerle buluştu

https://t.co/WqZXIxeofR

[Alkan Avcıoğlu @EvergreenDazed]

Post Truth has been selected for 17th TRT International Documentary Awards.

[TRT Uluslararası Belgesel Ödülleri @TRTBelgeselFilm]

Yılın en çok konuşulan belgeselleri 17. TRT Uluslararası Belgesel Ödülleri özel seçkisinde izleyici ile buluşuyor.
Yer: Grand Pera - İstanbul
Tarih: 4-7 Haziran 2026

The most impactful documentaries of the year are meeting with audiences in the special selection of the 17th TRT International Documentary Awards.
Venue: Grand Pera – Istanbul
Date: 4–7 June 2026

[Alkan Avcıoğlu @EvergreenDazed]

@SuperchiefNFT 🤜🤛

[SuperchiefGalleryNFT @SuperchiefNFT]

This is absolutely beautiful.

[Heft @heft_gallery]

Hypertopographics continues to grow its visibility, this time in Alkan’s home country with an impressive ten-piece presentation. There really isn’t anything else out there like this series….

[Alkan Avcıoğlu @EvergreenDazed]

Tap, hold, and load in 4K.

[8NAP ART @8NAP_ART]

What if reality is less something we find than something we build?

A preview of Constructing Reality by @evergreendazed

Landscape, architecture, industry, cartography, and pictorial surface are brought into the same field, turning natural space into something assembled and unstable.

The work treats reality as a construction shaped by images, histories, systems, and myths. Each layer opens onto another, suggesting that what we call the real is built through repeated acts of framing and belief.

Placed within Digital Encounters, the work speaks directly to the programme’s central question:

In a world of infinite information and impulses, what carries enough meaning to become myth?

For Alkan Avcıoğlu, myth is one of the structures through which reality is made. In Constructing Reality, image-making becomes a model for how worlds are assembled until construction begins to feel like truth.

Alkan Avcıoğlu is an artist and filmmaker whose work has been exhibited at Christie’s, Paris Photo, Art Basel, Zona Maco, and Vogue Photo, with films selected for major international festivals including Warsaw Film Festival and Fantasporto.

Part of Digital Encounters, presented by 8NAP ART and SUPERCHIEF.

Phase 2 edition minting begins Tuesday, June 9.

Follow us, @jared_poz, and @SuperchiefNFT for important updates and announcements.

[Vikki Bardot @VikkiBardot]

This made me smile. Martin Scorsese just made almost the exact same argument I've been making for years about AI and the future of cinema.

Last year at a panel at the Red Sea International Film Festival, and later in an interview with The Magger in Turkey, I said:

"It's important to remember that cinema is a young art form, only 130 years old. Looking at the history of other art forms, it's not difficult to predict that cinema will also undergo many radical changes and evolutions."

Back in February, I also spoke to Variety in an exclusive feature about my new AI film:

"The dominant narratives around AI in the media tend to revolve around Hollywood, budgets and click-driven debates. What remains underestimated is the sheer potential these tools offer for independent cinema and auteur-driven storytelling."

[8NAP ART @8NAP_ART]

What if reality is less something we find than something we build?

A preview of Constructing Reality by @evergreendazed

Landscape, architecture, industry, cartography, and pictorial surface are brought into the same field, turning natural space into something assembled and unstable.

The work treats reality as a construction shaped by images, histories, systems, and myths. Each layer opens onto another, suggesting that what we call the real is built through repeated acts of framing and belief.

Placed within Digital Encounters, the work speaks directly to the programme’s central question:

In a world of infinite information and impulses, what carries enough meaning to become myth?

For Alkan Avcıoğlu, myth is one of the structures through which reality is made. In Constructing Reality, image-making becomes a model for how worlds are assembled until construction begins to feel like truth.

Alkan Avcıoğlu is an artist and filmmaker whose work has been exhibited at Christie’s, Paris Photo, Art Basel, Zona Maco, and Vogue Photo, with films selected for major international festivals including Warsaw Film Festival and Fantasporto.

Part of Digital Encounters, presented by 8NAP ART and SUPERCHIEF.

Phase 2 edition minting begins Tuesday, June 9.

Follow us, @jared_poz, and @SuperchiefNFT for important updates and announcements.

[Alkan Avcıoğlu @EvergreenDazed]

“The question 'is this a work of art or not?' is not very interesting for us.”
Bernd and Hilla Becher

[Alkan Avcıoğlu @EvergreenDazed]

A water tower outside the Old Electricity Factory, shown here next to Bernd and Hilla Becher’s Water Towers (1988).

This connection feels especially meaningful in the context of Hypertopographics. The title of the series refers partly to the New Topographics movement, crystallized by the landmark 1975 exhibition New Topographics: Photographs of a Man-Altered Landscape. The Bechers were among the defining figures of that shift: They photographed industrial structures, water towers, blast furnaces, gas tanks, and mineheads with a rigorous, frontal, typological method, treating anonymous infrastructures as subjects worthy of sustained visual attention.

Their influence on contemporary photography is enormous. Through Bernd Becher’s teaching at the Kunstakademie Düsseldorf, their approach helped shape what became known as the Düsseldorf School of Photography, influencing artists such as Andreas Gursky, Thomas Ruff, Candida Höfer, and Thomas Struth.

Their systematic approach to photography has been one of the foundations of my artistic thinking.

In that sense, encountering this tower at the exhibition site is not just a visual coincidence. Hypertopographics grows out of that historical lineage but pushes it into another condition: From the clear typologies of industrial modernity toward the overwhelming, layered, hyperconnected systems of the present. The “hyper” in Hypertopographics brings Timothy Morton’s idea of hyperobjects into dialogue with New Topographics: systems so vast, distributed, and entangled that they can no longer be grasped from a single viewpoint.

[8NAP ART @8NAP_ART]

Digital Encounters continues June 9 with Phase 2 edition releases from:

@EvergreenDazed
@deltasauce
@neurocolor
@VikkiBardot

Each artist is creating a new edition exclusively for Digital Encounters.

After a strong opening release, the programme now expands through four distinct practices, each adding a new path into the larger story unfolding toward Mexico City this August.

Artwork previews from the Phase 2 artists begin this week.

[Alkan Avcıoğlu @EvergreenDazed]

zoom in

[Alkan Avcıoğlu @EvergreenDazed]

BLΛCK ΛTLΛS

New collection of 100 one-of-one works
20,000 pixels wide
Debuting at Edirne Biennale 2026

Launching on Ethereum in June.
Collectors of my previous works will have early access.

The works will be presented at the biennale as 150 × 300 cm physical prints and on 75-inch screens in a room dedicated exclusively to the collection, accompanied by original music developed specifically for the project.

The exhibition will run from May 21 to June 28, 2026.

[Scylla🌻 @bicekilsurdanbe]

@EvergreenDazed Uzun zamandır bir eserden bu kadar etkilenmemiştim. Edirne'ye katkınızdan dolayı teşekkür ederiz.

[Alkan Avcıoğlu @EvergreenDazed]

@bicekilsurdanbe

[Alkan Avcıoğlu @EvergreenDazed]

Gm all

[Alkan Avcıoğlu @EvergreenDazed]

Hypertopographics

[Alkan Avcıoğlu @EvergreenDazed]

A water tower outside the Old Electricity Factory, shown here next to Bernd and Hilla Becher’s Water Towers (1988).

This connection feels especially meaningful in the context of Hypertopographics. The title of the series refers partly to the New Topographics movement, crystallized by the landmark 1975 exhibition New Topographics: Photographs of a Man-Altered Landscape. The Bechers were among the defining figures of that shift: They photographed industrial structures, water towers, blast furnaces, gas tanks, and mineheads with a rigorous, frontal, typological method, treating anonymous infrastructures as subjects worthy of sustained visual attention.

Their influence on contemporary photography is enormous. Through Bernd Becher’s teaching at the Kunstakademie Düsseldorf, their approach helped shape what became known as the Düsseldorf School of Photography, influencing artists such as Andreas Gursky, Thomas Ruff, Candida Höfer, and Thomas Struth.

Their systematic approach to photography has been one of the foundations of my artistic thinking.

In that sense, encountering this tower at the exhibition site is not just a visual coincidence. Hypertopographics grows out of that historical lineage but pushes it into another condition: From the clear typologies of industrial modernity toward the overwhelming, layered, hyperconnected systems of the present. The “hyper” in Hypertopographics brings Timothy Morton’s idea of hyperobjects into dialogue with New Topographics: systems so vast, distributed, and entangled that they can no longer be grasped from a single viewpoint.

[Alkan Avcıoğlu @EvergreenDazed]

@andrea_ciulu Thank you, another Italy visit for us!

[Alkan Avcıoğlu @EvergreenDazed]

Honored to announce that Post Truth is selected for competition at 42nd Asolo Art Film Festival in Italy.

Conceived as a detachment from Venice Biennale, AAFF is the oldest film festival dedicated to art films.

Founded in 1973, the festival gave its first award to Andrei Tarkovsky’s Andrei Rublev. Over the years, it has welcomed and honored major figures such as Alain Resnais, Jean Rouch, Alexander Sokurov, Ingrid Bergman, and Monica Vitti.

It is a rare privilege to have my film enter this lineage, carrying this tradition into the age of artificial intelligence, beyond the camera but still deeply rooted in cinematic form.